Meine Zersägten Kameras
6x14 Roll Film Back for Plaubel Peco Junior 
6x14 Wide Angle Camera
35mm Panoramic Camera
mFT Adapter with iris for Pentax Auto 110 Lenses 
Stereo Camera made from two 35mm Cameras
Kiev EF - Russian "Rangefinder" with EF mount
Cosina Stereo K - Stereo SLR with Pentax mount
Rolleicord Stereo - my TriLR
Classic Rolleiflex with modern meter
Mamiya 6,3/50 adapted to Graflex Century Graphic
Wistamiya DIY Hybrid
Rollei 35 feeling on the Sony A7
More weird lens adaptations to the Sony A7R(II)
Wistamiya II  - Hasselblad SWC's poor relative
Rolleiflex SL 2000 with digital back „SWVS“
Old projector lenses on Sony A7RII
Under construction
Know How
Other "odd" cameras
Rudolf Keller Photography, 1925 – 1942
Contact / About

35mm Panoramic Camera (2010)

Yes, I had fun with my 6x14 roll film camera, but there is one fundamental problem: Since the 6x14 format uses up the entire image circle of the Schneider Angulon, the lens needs to be stopped down considerably, to lessen the vignetting.

So as portable as the camera may be, it is of limited use handheld, because enough light for 1/125  and f=22 is rare on this side of the world.

Added to that, I meanwhile find the aspect ratio somewhat "in between". While no longer a standard ratio, it is rather unspectacular for a panoramic camera.
So my thoughts started wandering again...

The widest format I have found is 6x24, i.e. an aspect ration of 4.3:1. This IS spectacular, but these cameras again tend to be very heavy and big.

But if I was going to do it then I should DO it, so 4.3:1 was the goal, however, this was the idea, on 35mm film, to make the camera smaller and less pricey.

First, I had to find a wide angle lens with shutter, with an image circle of more than 105mm (that would not cost a fortune). I ended up looking for Mamiya Press lenses. While only single coated, those lenses have a good reputation (and a big enough image circle).
The Press lenses usually sit in front of 6x9 cameras, but since some of those cameras have movable backs, the lenses are obviously designed with a generous image circle, to allow for some tilt/shift movement.

This was the plan:


I eventually used a Mamiya Press standard body from about 1965:

press vorn

And this is what was left after the hacksaw attack:

press gesägt

The rear part of the camera consists of three bodies taken from Dacora Dignette 35mm cameras, from the late sixties. Those cameras are well suited because of their simple construction and their aluminium body, that is easy to work with.

Here are the three rear parts, glued together:


Front and rear part need to be correctly positioned relative to each other, for which I used a piece of ground glass in the film plane and a 150mm lens: 



justieren 3

Pictures showing the further assembly steps

fast fertig


And this is the finished camera:

Here it is wearing the "pancake" 6.3/65 lens, providing an equivalent angle of view to a 22mm lens in front of a 35mm sensor

Or, meanwhile painted in "professional black" with the beautiful 6.3/50, equaling a 17mm lens on 35mm

One film transport needs three strokes, and this adds up to 11 pictures on a standard (36 exp.) roll of 35mm film, or 12, if the film is put into the camera in the dark. 

The negatives look good (slides look even better...), at least if the lab manages to cut the film in between of the images...

I hate to say it, but I still have some light leaks to find (very strange indeed. I believe I have already looked everywhere).

The camera is a littry tricky to use, it has to be held very straight, even small inclinations lead to very crooked images.

The possible resolution is on the level of e.g. a Canon 5D Mark II, so expect no miracles - but lots of fun. 

Three sample pictures (nothing artistic...):

This is Delft, The Netherlands, after Vermeer:

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